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UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS
Cambridge International Level 3 Pre-U Certificate
Principal Subject
9800/12
MUSIC
Paper 12 Listening, Analysis and Historical Study
May/June 2011
1 hour 30 minutes
Additional Materials:
Answer Booklet/Paper
* 5 8 8 2 4 2 9 1 5 8 *
In Section C, candidates may use an unmarked copy of the score; in the case of Kind of Blue, they may use
both a recording and an unmarked copy of the score.
READ THESE INSTRUCTIONS FIRST
If you have been given an Answer Booklet, follow the instructions on the front cover of the Booklet.
Write your Centre number, candidate number and name on all the work you hand in.
Write in dark blue or black pen.
You may use a soft pencil for any diagrams, graphs, music or rough working.
Do not use staples, paper clips, highlighters, glue or correction fluid.
Answer one question [both (a) and (b)] on one topic in Section C; answer one question in Section D.
At the end of the examination, fasten all your work securely together.
The number of marks is given in brackets [ ] at the end of each question or part question.
For Examiner’s Use
Qu
Mark
Total
This document consists of 3 printed pages and 1 blank page.
DC (NF) 36039/3
© UCLES 2011
[Turn over
2
Section C (36 marks)
Choose one of the following Topics and answer both Questions.
You may use an unmarked copy of the score of any of the Prescribed Works in this Section.
In the case of Topic C4 you may also use a recording.
Topic C1:
English Church Music of the Late Renaissance (c.1530 – c.1610)
Prescribed Work: Tallis – The Lamentations of Jeremiah
(a) Explain Tallis’s use of polyphonic techniques in the setting of the Hebrew letters Aleph
(bb 23 – 37, pp. 3 – 4 of the score) and Beth (bb 69 – 75, pp. 8 – 9 of the score) in the First
Lamentation. In your answer you should give a detailed account of both sections.
[18]
(b) Explain the contribution made to English Church Music during this period by any one
composer except Tallis. Illustrate your answer with references to specific works.
[18]
Topic C2:
The Origins of Opera (c.1580 – c.1612)
Prescribed Work: Monteverdi – L’Orfeo
(a) Monteverdi’s L’Orfeo contains examples of various approaches to word setting that were
common in his time. Choose any three sections from the opera and show how they illustrate
a range of different procedures.
[18]
(b) What is meant by the terms Prima Prattica and Seconda Prattica? Illustrate your answer with
detailed reference to specific music by any two composers.
[18]
Topic C3:
Modernism in France (1894 – 1925)
Prescribed Work: Stravinsky – The Rite of Spring
(a) In what ways does the Introduction to Part I of The Rite of Spring (from the beginning up to
figure 13) anticipate techniques and compositional devices that are exploited in the music
that follows? Illustrate your answer with detailed references to the score.
[18]
(b) To what extent can music written in France during this period be seen as a reaction against
Germanic late romanticism? Illustrate your answer with references to a representative range
of works.
[18]
Topic C4:
Jazz (1920 – 1960)
Prescribed Work: Miles Davis – Kind of Blue
(a) Discuss the novel approach to form and structure exemplified in the five different pieces that
make up Kind of Blue. In your answer you should refer to modifications of traditional jazz
forms as well as innovations, and make specific reference to the transcriptions.
[18]
(b) Outline the development of Jazz between 1920 and 1960 through changes to instrumentation
and size of ensembles. In your answer you should consider factors that brought about these
alterations, and refer to specific bands that typify each of the various styles.
[18]
© UCLES 2011
9800/12/M/J/11
3
Topic C5:
Art Song and Popular Song in Britain and America (1939 – 1970)
Prescribed Works – Samuel Barber: Knoxville: Summer of 1915, Op. 24
Hermit Songs, Op. 29
(a) What musical techniques does Barber use to characterise the different poems in the Hermit
Songs? In your answer you should refer to specific examples from at least four songs. [18]
(b) What is meant by the term ‘Art Song’? In what ways does this term imply something essentially
different from ‘Popular Song’? Illustrate your answer with references to at least two songs of
both types, except Barber’s Hermit Songs or Knoxville.
[18]
Section D (24 marks)
Answer one of the following Questions.
The clarity of your arguments and the quality of the language you use will be taken into account in this
Section.
D1 In 1950 Vaughan Williams wrote, ‘We cannot perform Bach exactly as he was played in his time
even if we wanted to, and the question is, do we want to? I say emphatically, No!’ Consider this
point of view about performing the music of the past, in the light of present-day approaches to
‘authenticity’. In your answer you should refer to music by at least two composers.
[24]
D2 How significant was virtuosity in the concertos of the baroque and classical periods? In your
answer, you should refer to at least one baroque concerto and at least one classical concerto.
[24]
D3 In what ways does music reflect the nature of society at the time it was written? Answer in relation
to the music of any two periods of music history.
[24]
D4 In an age when music is readily available through recordings, radio and the Internet, is there still a
place for live performance? Include examples from any music you have heard in live and recorded
performances.
[24]
D5 In recent years some performers and some styles of music have been described as ‘crossover’.
With reference to specific musical examples, discuss the value of this term.
[24]
© UCLES 2011
9800/12/M/J/11
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BLANK PAGE
Copyright Acknowledgements:
Section D Question 1
© R Vaughan Williams; National Music and Other Essays; Oxford University Press; 1963.
Permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared where possible. Every
reasonable effort has been made by the publisher (UCLES) to trace copyright holders, but if any items requiring clearance have unwittingly been included, the
publisher will be pleased to make amends at the earliest possible opportunity.
University of Cambridge International Examinations is part of the Cambridge Assessment Group. Cambridge Assessment is the brand name of University of
Cambridge Local Examinations Syndicate (UCLES), which is itself a department of the University of Cambridge.
© UCLES 2011
9800/12/M/J/11